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Allan Ramsay. [A biography.] - National Library of Scotland

Allan Ramsay. [A biography.] - National Library of Scotland

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54<br />

FAMOUS SCOTS<br />

Elegies^ one on John Cowper, the Kirk-Treasurer's-Man,<br />

whose <strong>of</strong>ficial oversight <strong>of</strong> the nymphes de pave furnished<br />

the poet with a roUickingly ludicrous theme, <strong>of</strong> which he<br />

made the most; the other, an Elegy on Lucky Wood,<br />

alewife in the Canongate, also gave <strong>Ramsay</strong> full scope<br />

for the exercise <strong>of</strong> that broad Rabelaisian humour, <strong>of</strong> his<br />

possession <strong>of</strong> which there was now no longer to be any<br />

doubt.<br />

Finally, in 1716, he achieved his great success, which<br />

stamped him as unquestionably one <strong>of</strong> the greatest<br />

delineators that had as yet appeared, <strong>of</strong> rural Scottish<br />

life amongst the humbler classes. As is well known,<br />

a fragment is in existence consisting <strong>of</strong> one canto <strong>of</strong> a<br />

poem entitled Chrisfs Kirk on the Green. Tradition<br />

and internal evidence alike point to King James I. as the<br />

author. The theme is the description <strong>of</strong> a brawl at a<br />

country wedding, which breaks out just as the dancing<br />

was commencing. 'The king,' says <strong>Ramsay</strong>, 'having<br />

painted the rustic squabble with an uncommon spirit, in<br />

a most ludicrous manner, in a stanza <strong>of</strong> verse, the most<br />

difficult to keep the sense complete, as he had done,<br />

without being forced to bring in words for crambo's sake<br />

where they return so frequently, I have presumed to<br />

imitate His Majesty in continuing the laughable scene.<br />

Ambitious to imitate so great an original, I put a stop to<br />

the war, called a congress, and made them sign a peace,<br />

that the world might have their picture in the more<br />

agreeable hours <strong>of</strong> drinking, dancing, and singing. The<br />

following cantos were written, the one in 17 15 (O.S.<br />

corresponding to January 17 16), the other in 17 18, about<br />

three hundred years after the first. Let no worthy poet<br />

despair <strong>of</strong> immortality,— good sense will always be the

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